The Cinematography Podcast Episode 334: Jeff Cutter Cinematographer Jeff Cutter first collaborated with director Dan Trachtenberg on 10 Cloverfield Lane. Their successful partnership continued on the Predator prequel, Prey, which became Hulu’s most-watched streaming premiere. Jeff and Trachtenberg found they had a strong bond over their mutual interests, such as films like Die Hard with “muscular” camerawork. As gamers, the two often use cinematic moments and cutscenes from both videogames and movies as visual references during pre-production meetings. “Dan is very much always about, well, how do we make this, what can we add to this? Whether it’s smoke and
The Cinematography Podcast Episode 334: Jeff Cutter Cinematographer Jeff Cutter first collaborated
The Cinematography Podcast Episode 333: Jeff Cronenweth Two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC is known for visually defining modern classics like Fight Club and The Social Network. With TRON: ARES, he melded three distinct realities: the digital Grid, the gritty real world, and the retro feel of the grid in the original TRON. Jeff’s involvement with TRON: ARES began through his long-standing relationship with Jared Leto. After working together on Fight Club, Leto, who stars as Ares and is a producer on the film, personally asked Jeff to meet with director Joachim Rønning. Jeff found that Rønning had established a
The Cinematography Podcast Episode 333: Jeff Cronenweth Two-time Oscar-nominated cinematographer Jeff Cronenweth,
The Cinematography Podcast Episode 332: Dan Laustsen For nearly 30 years, cinematographer Dan Laustsen, ASC, DFF and director Guillermo del Toro have produced one of cinema’s most visually distinctive collaborations. Sharing a deep affinity for rich colors and dark themes, their partnership has yielded five films characterized by an unmistakable aesthetic. Del Toro’s idea for Frankenstein had been discussed since their work on Crimson Peak in 2015. Finally, del Toro let Dan know he was ready to get to work on Frankenstein. Dan re-read Mary Shelley’s original work before reading the screenplay. While the script proved a very faithful adaptation,
The Cinematography Podcast Episode 332: Dan Laustsen For nearly 30 years, cinematographer
The Cinematography Podcast Episode 331: Tobias Datum Murderbot is the story of a security unit, part-human and part-machine, that has hacked its governing module to act in its own free will: mainly to be left alone to watch TV shows. Cinematographer Tobias Datum views the Apple TV+ series as a visual exploration of a synthetic being’s journey toward humanity and self-discovery. Tobias worked closely with show creator and director Paul Weitz, continuing a collaboration that spans over ten years with Paul and his brother, Chris Weitz. The production team included production designer Susan Chan, VFX supervisor Sean Falden, and colorist
The Cinematography Podcast Episode 331: Tobias Datum Murderbot is the story of
The Cinematography Podcast Episode 330: Pål Ulvik Rokseth Pål Ulvik Rokseth, the Norwegian cinematographer behind director Paul Greengrass‘s gripping drama The Lost Bus, faced a singular challenge: how to transform one of the deadliest wildfires in California history into a visceral, cinematic character. The film dramatizes the true story of bus driver Kevin McKay and schoolteacher Mary Ludwig. The two heroically navigated 22 schoolchildren to safety during the devastating 2018 Camp Fire in Paradise, California. The partnership between Pål and Greengrass began on another harrowing true-life drama, 22 July, about a deadly terror attack on a summer camp in Norway.
The Cinematography Podcast Episode 330: Pål Ulvik Rokseth Pål Ulvik Rokseth, the
The Cinematography Podcast Episode 329: Ula Pontikos, BSC The psychological thriller The Man in My Basement is about Charles Blakey (Corey Hawkins), a Black man in Sag Harbor, New York, who is down on his luck, unemployed, and facing foreclosure on his ancestral family home. In a desperate financial situation, Charles accepts a bizarre and extremely lucrative offer from a mysterious, wealthy white businessman named Anniston Bennet (Willem Dafoe). Bennet proposes to rent Charles’s basement for a hefty sum—enough to clear his debts—for a few months. To translate director Nadia Latif’s four-year vision from film to screen, cinematographer Ula Pontikos,
The Cinematography Podcast Episode 329: Ula Pontikos, BSC The psychological thriller The